After learning about the overwhelming effects of childhood trauma, I decided to make a film about a school that’s adopted a “trauma-informed” lens.

Documentaries are no walk in the park. They take a lot of time and money; they have a way of making a mockery out of your narrative plans. They must share the attention of an audience that is increasingly losing more and more of it.

Why bother? It’s a good question. For me, I have one simple bar that all my films must clear: an “oh my God!” moment. If a story does not elicit that reaction from deep within my bones, I don’t do it. I count on that sense of awe, concern, wonder, and alarm to carry me through the long haul of making the film. To do otherwise, well — it just seems stupid.